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DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalosue Free. 
Price 15c each. Postpaid, Unless Different Price Is Given 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2^ hrs (25c) 8 8 

After the Game, 2 acts, 1^ 

hrs. (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) 4 4 

American Hustler, 4 acts, lYi 

hrs (25c) 7 4 

Arabian Nights, 3 acts, 2 hrs. 4 5 
As a Woman Thinketh, 3 acts, 

2>4 hrs (25c) 9 7 

At the End of the Rainbow, 3 

acts, 2^ hrs (25c) 6 14 

Bank Cashier, 4 acts, 2 hrs. 

(25c) 8 4 

Black Heifer, 3 acts, 2 hrs. 

(25c) 9 3 

Brookdale Farm, 4 acts, 2\\ 

hrs (25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) 7 4 

Burns Rebellion, 1 hr (25c) 8 5 

Busy Liar, 3 acts, 2J4 hrs. 

(25c) 7 4 

College Town, 3 acts, 2^ 

hrs. .,.(25c) 9 8 

Corner Drug Store, 1 hr. 

(25c) 17 14 

Danger Signal, 2 acts, 2 hrs. . 7 4 
Daughter of the Desert, 4 

acts, IYa, hrs (25c) 6 4 

Down in Dixie, 4 acts, 2.V2 

hrs (25c) 8 4 

Dream That Came True, 3 

acts, 2>4 hrs (25c) 6 13 

Editor-in-Chief, 1 hr (25c) 10 

Enchanted Wood, 1^ h.(35c).Optnl. 
Everyyouth, 3 acts, 1^ hrs. 

(25c) 7 6 

Face at the Window, 6 acts, 2 

hrs (25c) 4 4 

Fascinators, 40 min (25c) 13 

Fun on the Podunk Limited, 

11/2 hrs (25c) 9 14 

Heiress of Hoetown, 3 p.cts, 2 

hrs (25c) 8 4 

High School Freshman, 3 acts, 

2 hrs (25c) 12 

Honor of a Cowboy, 4 acts, 2% 

hrs (2.5c) 13 4 

Indian Days, 1 hr (50c) 5 2 

In Plum Valley, 4 acts, 2 54 

hrs (25c) 6 4 

Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
Tayville Junction, 1% hrs.(25c)14 17 
Kingdom of Heart's Content, 3 

acts, 2J4 hrs (25c) 6 12 

Lexington, 4 acts, 2\i h..(25c) 9 4 



M. F. 

Light Brigade, 40 min (25c) 10 

Little Buckshot, 3 acts, 2^ hrs. 

(25c) 7 4 

Lodge of Kye Tyes^ 1 hr.(25c)13 
Lonelyville Social (Jlub, 3 acts, 

\y2 hrs (25c) 10 

Man from Borneo, 3 acts, 2 

hrs (25c) 5 2 

Man from Nevada, 4 acts, 2V^ 

hrs (25c) 9 5 

Mirandy's Minstrels (25c) Optnl. 

New Woman, 3 acts, 1 hr.... 3 6 
Old Maid's Club, 1^ hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25r>) 8 6 

Old School at Hick'ry Holler, 

1^ hrs (25c) 12 9 

On the Little Big Horn, 4 acts, 

21/2 hrs (25c) 10 4 

Out in the Streets, 3 acts, 1 hr. 6 4 
Prairie Rose, 4 acts, 2J^ hrs. 

(25c) 7 4 

Rustic Romeo, 2 acts, 2J4 

hrs (25c) 10 12 

School Ma'am, 4 acts, 1^4 hrs. 6 5 
Scrap of Paper, 3 acts, 2 hrs. . 6 6 
' Soldier of Fortune, 5 acts, IVz h. 8 3 
Southern Cinderella, 3 acts, 2 

hrs (25c) 7 

Third Degree, 40 min (25c) 12 

Those Dreadful Twins, 3 acts, 

2 hrs (25c) 6 4 

Tony, The Convict, 5 acts, lYi 

hrs (25c) 7 4 

Topp's Twins, 4 acts, 2 h.(25c) 6 4 
Town Marshal, 4 acts, 2J4 

hrs (25c) 6 3 

Trip to Storyland, Wa hrs. (25c) 17 ^3 
Uncle Josh, 4 acts, 2^4 hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

hrs (25c) 7 10 

Under the Laurels, 5 acts, 2 hrs. 6 4 
When the Circus Came to 

Town, 3 acts, 2^4 hrs. (25c) 5 3 
Women Who Did, 1 hr. . . (25c) 17 
Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES. COMEDIETAS, Etc. 

■April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Bad Job, 30 min 3 2 

Betsy Baker, 45 min . 2 2 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 

Box and Cox, 35 min 2 1 

Case Against Casey, 40 min... 23 

Convention of Papas, 25 min.. 7 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 



T. S. DENISON & COMPANY, Publishers,154 W. Randolph St. . Chicago 



ALL ON A SUMMER'S DAY 

A COMEDY 

FOR FOUR lAIEN AND SIX WOMEN 

BY 

LINDSEY ^ARBEE 

AUTHOR OF 

"After the Game," "At the End of the Rainboiv," "The Dream That 

Came True," "The Fifteeiitli of January," "The Kingdoui 

of Heart's Content," "Sing a Song of Seniors," 

"The Thread of Destiny," "A Trial of Hearts," 

"When the Clock Strikes Twelve," 

"In the College Days," etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



All On A Summer's Day 

CHARACTERS. ^^ -^ (K 

(Named in order of their appearance.) 

DORETTE . . ■) ^, ^ . , 

^ V Ciiijmuer Lrirls 

Gladys . . . j 

Miss Parker • . . .A)i Advocate of Suffrage 

Miss Trimble A Bridge Fiend 

Mrs. Reed A Delusion and a Snare 

Mrs. Lane. . ) r, • , , ^ 

,r -r > Bride and Groom 

Mr. Lane. . . j 

Tom Warner Dorette's Fiance 

Bob Doyle Tom's Friend 

Rafferty A Plain Clothes Man 



Place — The Porch of a Summer Hotel. .1 Summer 

Afternoon. 



Time — The Present. 



Time of Playing — About Fort\ Minutes. 



COPYRIGHT, 191G, BY EBEN H. NORRIS. 
2 i/ 

FEB 25 1916 ©M 43134 



ALL ON A SUMMER'S DAY 



STORY OF THE PLAY 



Among the guests at a summer hotel, one couple espe- 
cially claims attention — both man and woman being young 
and exceedingly attractive, but mysterious from the fact 
that all attempts to establish intimacy fail and because the 
man publicly is often indifferent and even harsh to the 
women. Various theories as to their identity are advanced, 
and it is even suspected that they are two clever thieves who 
are even then being tracked. After great cleverness on the 
part of the real thief and great efforts by the suspected pair 
to extricate themselves from the difficulty, it is discovered 
that they are bride and groom who have chosen this way of 
avoiding public attention and who have hoped by studied 
indifference and harshness on the man's part to carry out 
their joke and still to have an uninterrupted honeymoon. 



CHARACTERS AND COSTUMES. 

DoRETTE AND Gladys — Attractive summer girls. Gladys 
of the "fluffy-ruffle" type ; Dorette, livelier and more clever. 

Miss Parker — Older than Gladys and Dorette ; deter- 
mined, independent and a trifle mannish. 

Miss TrIiMble — Middle-aged, of great dignity and poise; 
inclined to be sarcastic. 

Mrs. Reed — Insinuating in manner, smooth of speech, 
exceedingly gracious. 

Mrs. Lane — At first, reserved; later, quite self-possessed 
and spirited. 

Mr. Lane — At first, arrogant and haughty; later, his 
natural self. 

Tom Warner and Bop. Doyle — Light-hearted young fel- 
lows. 

Rafferty — Typical of his profession. 

Gladys, Dorette, Mrs. Lane and Mrs. Reed wear 
pretty and stylish summer gowns suitable for the afternoon, 
Mrs. Reed's costume being most elaborate. Miss Parker 
wears strict tailor shirtwaist suit. Miss Trimble appears in 
a summer gown of subdued hue and old-fashioned cut. 



4 ALL ON A SUMMER'S DAY. 

Tom and Mr. Lane wear light flannel suits, Panama hats, 
etc. Bob wears good-looking traveling suit. Rafferty ap- 
pears in a plain business suit. 



PROPERTIES. 

Two porch benches ; porch pillows, card table and chairs ; 
two or three porch rocking-chairs ; curtains and flower 
boxes for windows ; two packs of cards, score cards, etc., 
for card table. Crocheting and padlocked box for Mrs. 
Reed. Three letters, magazine and newspaper for Tom. 
String of pearls for Gladys. Small jewel case for Dorette. 
Roll of greenbacks for Miss Parker. Lorgnette for Miss 
Trimble. Suitcase for Bob. Watch and memorandum for 
Rafferty. 




Scene Plot. 

Window Window 

r— ] ^ D^^, I c=L_ 




Flower Boxes ' ' Flower Boxes 

f^ Table OChalr ^ 

,/ 0.3° □'="='"^ D D n I 

' D Chair Rocking Chairs ^ 

Flower Beds \ — ■/ Flower Beds 

-r- Steps -r- 

The setting of the hotel porch is not difficult. It may be 
easily arranged by a slight elevation from the stage itself 
(flooring laid over props). The door leading from porch 
to interior will necessitate some kind of elevation back of 
drop, so that the actor may reach the stage easily and 
noiseles^y. 

STAGE DIRECTIONS. 

R. means right of the stage; C, center; R. C, right cen- 
ter; L., left; / E., first entrance; U.E., upper entrance; 
R. J E., right entrance up stage, etc.; R.D., right door; 
L. D., left door, etc. ; D. P., door in flat or scene running 
across the back of the stage ; up stage, away from footlights, 
down stage, near footlights; / G., first groove, etc. The 
actor is supposed to be facing the audience. 



All On A Summers Day 



Scene: The porch of a summer hotel. Door {screen 
door if possible) C. in F. leading to interior. Windows R. 
and L. of door in C. in F. Flcvation a few feet from stage 
with steps at C. leading to stage. Simulated fiozver beds and 
grass on either side of the steps, close to porch. Entrances 
R. 2 E. and L. 2 E. Card table and straight porch chairs 
R. ofC. of porch. Bench down R. of porch, bench down 
L. of porch. Three rocking-chairs placed in a straight line 
L. of C. of porch. Inside curtains for zvindows, window 
boxes of flowers, porch pillows, etc. 

Curtain rises disclosing Gladys seated back of card table, 
shuffling cards. Dorette opposite with back to audience, 
also shuffling cards. Miss Parker at L. of table, Miss 
Trimble at R. of table. Mrs. Reed, crocheting, is rocking 
back and forth in first chair L. of C. of porch. 

Gladys {dealing cards one by one). There's a mystery 
about them — I don't care what you say. {Abruptly.) Did 
I deal you two cards, Miss Parker? 

Miss Parker {slowly cotmting her cards while Gladys 
pauses in her dealing). No mistake, Gladys. {As Gladys 
resumes her dealing.) Mystery, you say. It's always a 
mystery when a self-respecting young girl throws herself 
away on a good-for-nothing, disagreeable and overbearing 
man. 

Dorette. Don't be so hard on the men. They're sad but 
necessary evils — especially at a summer resort. 

• Gladys {emphatically). And she isn't self-respecting. 
No self-respecting young woman would allow her husband 
to bully her, dictate to her and politely swear at her. 
{Weakly.) But he ?'.s" good looking. {Takes up her cards.) 

Dorette (gathering up her cards). And you must con- 
fess that he gives her perfectly stunning clothes. 

Miss Parker (pounding table). Good-looking clothes! 

5 



6 ALL ON A SUMMER'S DAY. 

There you've said it, Dorette. (Scornfully.) Good-looking 
clothes! The badge of slavery — the exchange for subservi- 
ence ! Until woman meets man fairly and squarely — until 
she changes the old order of things — 

• Mrs. Reed. Dear me, Miss Parker, do you think there 
will ever be a new order of things ? 

Miss Parker (turning around). My dear Mrs. Reed, do 
you mean to say that woman is never to have her rights ? 

Mrs. Reed. Now, now, let's not discuss that perilous 
subject. What I mean is, that the women will marry just 
so long as the men keep asking them. 

Miss Parker. You forget that marriage is no longer 
the sole aim of woman — 

Mrs. Reed. There are very few old-fashioned old maids, 
I grant. Nowadays they are so busy taking care of th.e 
married women's business, and so glib in telling them how 
to bring up their children, that you can't distinguish them 
from the housekeepers themselves. 

Gladys {as Miss Parker ^^arf.s- to argue). But, Mrs. 
Reed, you must have noticed this Mr. Lane and his poor, 
intimidated little wife. 

Mrs. Reed. I came just yesterday, you know. 

Dorette. They've been here just about a week and no- 
body knows them any better. They make no effort to get 
acquainted. He continues to treat her indifferently and to 
speak harshly, even in the presence of others. It's dreadful ! 

Mrs. Reed. How very extraordinary ! Has it ever oc- 
curred to you that — (hesitates) that — 

Gladys (eagerly). Yes? 

Mrs. Reed. That — perhaps — something is amiss? That 
there is a good reason why they wish to escape notice? 

Gladys. My idea, exactly — a mystery! 

Mrs. Reed. This aversion to society may mean — (insin- 
uatingly) oh, lots of things! (For some time Miss Trimble 
has shown impatience and disgust. As Mrs. Reed concludes 
her remark she rises angrily.) 

Miss Trimble. May / ask if it has ever occurred to you 
that this is a game of bridge and not a discussion of what 
does not concern us? (Sits down emphatically.) 



ALL ON A SUMMER'S DAY. 7 

Gladys (in confusion). Oh, Miss Trimble, it is nry 
make, isn't it? I'd quite forgotten. (Scans cards.) Dear 
me! Such a hand! (Holds out cards tozvard Mrs. Reed.) 
Now, what would you do in such a case? (Mrs. Reed 
rises, stands behind Gladys, looks at the cards and shakes 
her head.) Hopeless, isn't it? (To herself, as she counts.) 
One — two — three — I'll — no, I won't either. I'll make it — 
(hesitating and frozcning) no — that won't do. I'll — let me 
see — I'll — I'll — (suddenly) well, I think I'll pass! 

Miss Parker. Well, it certainly took time for you to 
reach that conclusion. , (Without looking at her cards.) A 
heart. 

Dorette. My, but you're confident. I'll make it two 
diamonds, just to be contrary. (To Mrs. Reed.) I infer 
that you really know something about the Lanes. 

Miss Trimble (in stentorian tones). Two hearts! 

Mrs. Reed (in feigned dismay). Not at all. my dear. 
What made you think so? Did I say anything to give you 
that impression? Oh, I'm sorry. 

Gladys. Of course we can't help noticing what is thrust 
before our very eyes. 

Miss Trimble (acidly). Then suppose you notice your 
cards. 

Gladys (in surprise). Are you waiting for me to bid? 
I should think you'd know I couldn't do it after passing the 
first time. 

Miss Parker (to Miss Trimble). WJiy did you make 
it two hearts? 

Miss Trimble. Didn't you bid hearts? 

Miss Parker. Certainly, but that doesn't necessarily 
mean anything. 

Miss Trimble (sarcastically). Since when does a bid 
mean nothing? Perhaps you find such a contingency in the 
revised edition of Hoyle. 

Miss Parker. Hoyle or no Hoyle, I know what I'm 
saying, and you had no right to raise my bid. Why, I just 
intended to start things — I didn't even look at my hand. 

Dorette. Well, you started things all right, and. just to 
keep them moving. I'll allow your bid to stand and will lead 



8 ALL OX A SUMMER'S DAY. 

off with this perfectly stunning ace. (Plays.) Now, I defy 
anybody to take it. ( Miss Trimble spreads out her cards.) 

Mrs. Reed. Far be it from me to gossip ; but this morn- 
ing I did see something very suspicious about the Lanes' 
conduct. 

Miss Parker (excitedly playing from dummy). What? 

Miss Trimble (furiously). Did you mean to play that 
king? 

Miss Parker. Why shouldn't I play that king — isn't it 
mine? 

Gladys. Oh, tell us what you saw, Mrs. Reed. We've 
all surmised so much that — (Miss Trimble leans toivard 
her, pointing to cards.) Oh, is it my play? (Plays hur- 
riedly.) Nothing could shock us now. 

DoRETTE. Gladys, you've trumped my ace! 

Gladys (composedly). So I have. But a trick's a trick. 

Miss Parker (playing). Is a heart the trump? 

Miss Trimble (rising). Is a heart the trump? This 
question, after you yourself had the make! (Ironically.) 
Is a heart the trump? I grant- that it might as well be any- 
thing else, if we consider the intelligence with which this 
particular game is being played. (Throws cards on table.) 
Find someone to take nry place who is more gifted in con- 
versation and gossip than I. (M^alks to door at C. in P.. 
then turns.) May I suggest Mrs. Reed as eminently suited 
to the position? (Exit C. in P.) 

Mrs. Reed (returning to chair and resuming her cro- 
cheting). What an unnecessary display of temper! Her 
insinuations are almost insulting. 

Gladys (rising pettishly). I despise bridge, anyway. 
(Sits on arm of Mrs. Reed's chair.) It always makes my 
head ache when I think so hard. (Mrs. Reed looks up 
quickly at her, smiles to herself and bends her head over 
her work.) 

Miss Parker (seating herself in chair just vacated b\ 
Gladys). That's the first time anyone ever told me I 
couldn't play bridge. (Gathers cards together fiercely.) 

Dorette. Maybe others have thought it, dear lady. (As 
Miss Parker attempts to reply.) No, don't say a word. 



ALL ON A SUMMER'S DAY. 9 

I haven't energy to quarrel. It's too hot for bridge or any- 
thing else that requires effort. (Rises, walks languidly to 
bench at R. of porch and seats herself.) Dear me ! ( Yazcn- 
ing.) There's a prospect of twelve men for the dance 
tonight. 

Gladys. \Yq\\. I don't know how you make that out. 

DoRETTE. Tom says — 

Gladys (pettishly). Oh, do leave Tom out of the ques- 
tion ! Just because you're engaged to him doesn't warrant 
his being dragged into every conversation. 

DoRETTE. You can't leave him out. He's one of the 
eight perfectly good unattached men. 

Gladys. Call them perfectly good if you wish, but they 
wouldn't pass muster at a city social function. 

DoRETTE. But they do here. A summer resort is no re- 
specter of persons. 

Gladys. Well, who are the other four? 

DoRETTE. The clerk. (Gladys starts to protest.) Not 
a word. We are not considering race, color or previous 
condition of servitude. 

Gladys. Who else? 

DoRETTE. Mr. Jones. 

Gladys (sarcastically). Just as common as his name. 

DoRETTE. What's in a name? So long as it adorns a 
dance card. Then there's old Mr. Grange. 

Gladys (in horror). Dorette ! He has a wooden leg! 

DoRETTE. Then he ought to be good in a one-step. 

Gladys (zvith a resigned air). Who's the twelfth? 

Dorette. A paragon borne hither on the five-thirty 
train — a friend of Tom. Oh, I beg your pardon, Gladys, 
for mentioning his name. 

Gladys. Don't be silly, Dorette. Who is he? 

Dorette. Bob Doyle. 

Gladys (excitedly). The Bob Doyle who was usher at 
the Van Antwerp wedding? 

Miss Parker (sleepily). What is the Van Antwerp 
wedding ? 

Gladys. Miss Parker, the chief charm of this summer 



10 ALL ON A SUMMER'S DAY. 

burg is the fact that it entices a few New Yorkers — and 
always keeps on file the New York papers — 

DoRETTE {interrupting). And if you kept up with cur- 
rent events you couldn't help but know of Margaretta Van 
Antwerp's 'marriage to Rupert Irving, just about a week 
ago at their country home. Bob Doyle was the only usher 
outside of New York, and as he comes from Tom's home 
town, we're interested. 

Mrs. Reed. Why aren't you counting on Mr. Lane as 
one of your cavaliers? 

DoRETTE. He'd make an unlucky thirteenth. And, any- 
way, L'm scared of him. 

Mrs. Reed. Speaking of angels, here come the Lanes. 
(Points off stage L. All peer curiously.) 

Enter Mr. and Mrs. Lane, L. 2 E. They advance to C. 
at front of stage. 

Mrs. Lane {looking nervously around). Oh, I'm afraid 
— I really am. They look at us as if they knozv. 

Lane. They can't know. It's impossible. But re- 
member what would happen if they did know — and brace 
up. 

Mrs. Lane. I'll try. {Walks tozuard steps and turns.) 
Then I'll see you later. 

Lane {harshly). Perhaps so. In any case, await my 
orders here. {Exit R. 2 E.) 

Mrs. Lane ascends steps. Dorette smiles, rises and 
zualks tozvard C. of porch. 

Dorette {meeting Mrs. Lane at C). Can't I persuade 
you to be sociable? That bench {pointing R.) is-the nicest 
kind of a resting place after a hot summer walk. 

Mrs. Lane {turning at C). It does look inviting — but 
it doesn't admit of a nap, does it? {Nods brightly.) Thank 
you just the same. 

Miss Parker. Perhaps a hand at bridge — 

Mrs. Lane {raising her hand). Oh, spare my brain! 

Mrs. Reed. Then bring your work — 

Mrs. Lane. But I haven't any work. 



ALL OX A SUMMER'S DAY. 11 

Gladys (rising and coining to her). Neither have I. 
Let's be the HHes of the field and watch the others toil. 

Mrs. Lane. I fear 1 can't be even a successful Hly — 
it's hunrihating to confess. But {moving to door) I thank 
you for asking nie. 

Gladys. Are \ou coming to the dance tonight? 

Mrs. Lane. That depends upon what my husband 
wishes. {Exit C. in F.) 

Gladys (coming back to arm of Mrs. Reed's chair). 
Isn't she maddening? I shan't bother any more to be nice. 

Miss Parker {mockinglx). "What mv husband wishes." 
Bah ! 

DoRETTE. Hasn't she a "thus-far-shalt-thou-come-and- 
no-farther" air? One couldn't touch her with a ten-foot 
pole. (Takes chair L. of table, drags it doiini stage, seats 
herself near edge of porch.) 

IVIrs. Reed (insinuatingly). It is certainly a strange atti- 
tude to assume. They would not be so unapproachable and 
so non-conrmitttal if they were not anxious to hide some- 
thing. 

DoRETTE icaz'ing excitedly as Tom enters R. 2 E. 

DoRETTE. Look who's coming! (As Tom rushes up 
steps.) What did you bring us? 

Tom (taking letters and inagazines from pocket). Greet- 
ings from Uncle Sam — that's all. Two effusions for Gladys 
— masculine handwriting. (Hands letters to Gladys.) 

Gladys (gloomily scanning the envelopes). From the 
men whom I asked to the dance tonight. My sixth sense 
tells me that they've both refused. {Sits in chair next to 
Mrs. Reed and opens letters.) 

Tom. Suppose they've both accepted — then what'U you 
do? (Hands mai!^azine to Miss Parker.) Literary Digest, 
Miss Parker. Read it and tells us the contents in words 
of one syllable. (Hands letter to Dorette.) What do you 
mean, Dorette, by flaunting a bill before my very eyes? 

Dorette (taking envelope and slowly opening it). Just 
a reminder, dear, of the happy days coming. 



12 ALL OX A SUMMER'S DAY. 

Tom. I mi^ht have bronerlit voiir mail, too, j\Irs. Reed. 
Never thought of it. 

Mrs. Reed. I hardly expect an}- so soon. Thank you 
just the same. (Tom scats himself on porch at Dorette's 
feet.) 

Gladys (cranuiiitig letters iiito on'clopcs). Just as I sus- 
pected. Each had "unexpected business." Tom, if you 
men imtst lie, why can't you lie artistically? (Scornfully.) 
"Unexpected business!" Adam probably used the same ex- 
cuse to Eve ! 

Tom {hastily taking newspaper from pocket). And would 
you like to hear the metropolitan news ? 

Mrs. Reed. Please. 
' Tom (scanning newspaper). Well, here's the account of 
a woman trampled to death at a bargain sale. Ladies, I 
trust that a word to the wise — 

DoRETTE. We don't believe that bargain sale story any 
more than we believe that- excuse of unexpected business. 
Next ! 

Tom (reading). The sufifragettes have been raising Cain. 

DoRETTE. Only CainF That's surely an improvement 
upon the hammer? 

Tom. Help! A joke like that on a hot summer day is a 
crime. 

Gladys (yawning). Go on. 

Tom (reading). Bridge fiend has lost her mind. 

Miss Parker (roused from her reading). That's a warn- 
ing- to Miss Trimble. Fll tell her. (Resumes reading.) 

Mrs. Reed. But aren't the men figuring in any way? 
Or don't you think we're interested? 

Tom. Modesty forbade me to laud their deeds unless re- 
quested. 

DoRETTE. Nonsense ! L'll wager that they've done noth- 
ing worth the menton. 

Tom. Oh, haven't they? \Miat do you think of a fellow 
who, at the greatest personal risk, rescues a fair maid sus- 
pended over a yawning abyss ? 

DoRETTE (looking over his shoulder). Sounds dime- 
novelly to me. Suspended by what ? 



ALL ON A SUMMER'S DAY. 13 

Tom. a projecting crag. 

DoRETTE. In the first place, what is she doing on a pro- 
jecting crag? 

Tom. Hasn't she a right to suspend herself if slic 
wishes ? 

DoRETTE. Don't he silly. Torn:. 

Tom (referring to paper again). A\diat do you think of a 
fellow^ who, at the greatest personal risk — 

DoRETTE (interrupting). Don't repeat, please. We re- 
member the sentiment. 

Gladys (-cvamily). I think he's splendid. Of course he 
got 3. medal for bravery. 

Tom. No, I beHeve not. 

DoRETTE. Why didn't he get it? 

Tom. How do / know if the paper doesn't say? 

DoRETTE (sternly). Tom. don't equivocate. Why didn't 
he get it? 

Tom (desperately). \\'ell — hang it all — 'twas only a 
movie rehearsal. 

DoRETTE (zvisely). I thought so. 

Tom. And why did you think so? 

DoRETTE. Why, I can read between the lines — and inci- 
dentally over your shoulder. 

(Silence for a fezc uioiueiits.) 

Tom (whistling). Listen to this, all. of you! {All bend 
forzvard attentiz'elv as he reads. Miss Parker lays aside 
her magazine.) Detectives are hot upon the trail of an 
attractive pair, man and wife, who are cleverly collecting 
valuables from the guests of various summer hotels in the 
state. It is said that Mr. and Mrs. Raffles mingle socially 
with the hotel visitors and enrich themselves as the oppor- 
tunity presents itself. Their latest achievement is to ab- 
stract the jewels which had been entrusted to the safe of 
the Ocean View^ Hotel and — 

Mrs. Reed {interrupting, rises in great agitation). Does 
it describe them ? 

Tom {referring to paper and reading). The thieves are 
young, attractive and exceedingly well-dressed. They — 



14 ALL OX A SUMMER'S DAY. 

(Mrs. Reed gasps as in terror, Tom rises.) \Miy, Mrs. 
Reed, what is it? You're frightened. 

Mrs. Reed. I am frightened. I am beginning to under- 
stand that our mysterious couple — 

Gladys {breathlessly). The Lanes! 

Mrs. Reed. Oh, don't you see that the Lanes are this 
notorious pair? That — (seats herself). 

Miss Parker. Oh, no — it can't be — 

Mrs. Reed. Why can't it be? They answer to the de- 
scription. 

Dorette. Not quite. They don't mingle socially — they 
don't even attempt it. 

Mrs. Reed. That's a blind. That sort of people never 
do the same thing twice in succession. 

Tom. Now look here. Aren't you people rather jump- 
ing at conclusions ? I met Lane as I was coming from the 
postoffice. He seems a bully sort of chap — and — 

Dorette {freczini!;ly). Tom! 

Tom (hastily). Oh, if you're going to look at it that way, 
Fve nothing more to say. I'll leave you people to argue it 
out — and — see you later! (Exit C. in F.) 

Gladys (tragieally) . What are we to do? 

Mrs. Reed (eagerly). Have you valuables in the safe? 
(Gladys, Dorette and Miss Parker nod.) Then draw 
them out immediately, for the safe will be the first place 
they try to rob. 

Dorette. I want my emeralds for the dance anyway. 

Mrs. Reed (excitedly). Your emeralds — emeralds? 

Dorette (in surprise). Yes — why not? Don't I look 
like an emerald kind of lady? 

Mrs. Reed (confusedly). Oh, yes — yes. How can you 
think otherwise? L'm just excited — that's all. 

Gladys. Well, I have a string of pearls that I shouldn't 
want to lose. 

Mrs. Reed (eagerly). Pearls? Real pearls? 

Gladys (pettishly). Why, of course they're real. Dad 
gave them to me when I came out. Do you think T bought 
them by the yard ? 

Mrs. Reed. My dear, you don't understand. Just to 



ALL ON A SUMMER'S DAY. 15 

think that such treasures have been so perilously threat- 
ened. 

Miss Parker. Including- a little bank note roll of my 
own. 

Mrs. Reed {moistening her lips). How — how much? 

Miss Parker. Oh, a couple of hundred — or more. 

Mrs. Reed. What would have happened if I had not 
unraveled this mystery? 

Gladys. I don't think you need to take such credit to 
yourself. We should have discovered it for ourselves a 
moment later. 

Dorette. Anyway, we're not sure that the Lanes are 
the people. And if they are, it doesn't necessarily follow 
that they'll succeed in opening the safe. I'm sure we're 
rather weak and silly to do this before we knozu. Let's 
think it over and not attempt to raid the safe until just 
before the dance. 

Mrs. Reed. My dear, you're foolish. Why not do it 
nozv? No one need know, and if we are mistaken, all right. 
If we are not mistaken, how much better to take a little pre- 
caution, to — 

Dorette. Oh, if you feel like that, Mrs. Reed, let's do 
it by all means. But — dear me — I don't want to wear all 
nty sparklers. I can't leave them in the room — and — {rises) 

Miss Parker. I certainly can't go around with, green- 
backs adorning my person. {Rises.) 

Gladys. And I don't want to rattle with pearls. 

Mrs. Reed {suddenly). Listen. I've just thought of a 
plan. I have a little pad-locked strong box where I always 
carry my valuable papers. Why not put all your possessions 
in this until time for the dance? We can carry it around 
with us. It simplifies matters. 

Gladys {rising). The very thing. Get your little box, 
Mrs. Reed, and we'll join you here as soon as we collect 
our precious possessions. (Mrs. Reed rises and hastens 
through C. in F. in advance of Gladys, ivJio folloivs her. 
Dorette hesitates and appears univilling to go. hut is 
pushed along by Miss Parker. Exeunt all C. in f.) 



16 ALL ON A SUMMER'S DAY. 

Ruicy Lani-: R. 2 E. As he Jiurrics up the porch steps, 
'VoM emerges C. in F. Lane is about to brush past him 
zcheu Tom lays a restraining hand on Jiis shoulder. 

Tom. Maybe it isn't any of my business, Lane, but, 
anyway, I thought I'd drop you a word of warning. 

Lane {coolly). I don't understand. 

Tom. They're on to you — the jig's up. 

Lane (off his guard). Impossible! \\'ho told? 

To:»i. The newspapers. (As Lane attemps to protest.) 
No use trying to deny it — especially after you've given 
yourself away. 

Lane. I repeat that it is quite impossible for any news- 
paper to know of our nTovements. 

Tom (shrugging his shoulders). Read for yourself. 
(Takes newspaper from pocket and hands it to Lane). 
Why did you chooose another hotel? 'Twas poor business. 

Lane (pu.zded). Another hotel? Again, I don't follow 
you. 

Tom. Why, you were sure to be recognized. What you 
did in one hotel couldn't safely be repeated in another. 

Lane. I tell you, man, we haven't been to any other 
hotel. We came directly here. 

Tom. See here. Lane, what's the use of beating 'round 
the bush. Without a doubt you've been tracked. The 
whole thing's been discovered and I ought to be giving the 
alarm. Some way or other I can't do it. Hang it all, I 
like you and I've a mind to help you give them the slip. 

Lane. I don't want to give them the slip. Since the 
secret's out, I'll stay and face the music. 

Tom. But your wife. 

Lane. She can stand it if I can. 

Tom. Why did you drag her into this mess? 

Lane (angrily). Look here, I don't like your tone. 

Enter Mrs. Reed C. in F. zvith small padlocked box. She 
goes stealthily to chair L. of C. 

Tom (hastily). Let's argue it in the smoking room. 
(Exit C. in F.) 

As Lane follows Tom, Gladys, Dorette and Miss Par- 



ALL OX A SUMMER'S DAY. 17 

KER emerge from C. hi F. As he stands aside to let them 
pass, they drazv their skirts as in fear of touching him and 
glance stealthily at him. Lane, as he steps inside the door, 
turns and looks at them ivith a surprised and puzded ex- 
pression, then goes off C. in F. Miss Parker stands stiffly 
behind Mrs. Reed's chair. Dorette crosses back of her 
to chair at L. of Mrs. Reed and sits on arm. 

Gladys (sinking to floor by Mrs. Reed). Did you see 
that X-ray look of his? It saw just where I had hidden my 
pearls. (As she drazvs a string of pearls from the front of 
her , dress). Here — take them — quick (Mrs. Reed takes 
the pearls) before he charms them away! 

Mrs. Reed (opening her box and dropping the pearls 
within). Now, see how safe they'll be. 

Miss Parker (tossing bills into the box). This will keep 
them company. 

Dorette. And this. (Places small jezvel case in box.) 
Really this is all nonsensical. Think of three perfectly 
able-bodied women quaking- before a possible pair of 
thieves. And I don't believe they are thieves any more 
than we are. So there ! 

Mrs. Reed. But, my^ dear, even if we are mistaken, a 
little precaution is surely wise. 

Dorette. Precaution! Idiocy! We've acted like a set of 
babies. 

Mrs. Reed. Then suppose you put them back in the 
safe — 

Gladys (interrupting). And get them out again before 
the dance? Not much. 

Mrs. Reed. Or, at least, one of you take the box. 
(Holds out box.) 

]\Iiss Parker. Impossible ! I can't be bothered. 

Gladys. I'd lose it. 

Dorette. And I'd probably hand it to Mr. Lane just 
to test him. If you don't mind, Mrs. Reed, we'd much 
prefer your taking charge. 

Mrs. Reed (reluctantly). Well — if you insist. (Whistle 
sounds.) 



18 ALL ON A SUMMER'S DAY. 

Gladys (rising). Listen! The train! 

Mrs. Reed (rising hastily). Shall I wait you in the H- 
brary — or my room — or — 

Gladys (Impatiently). Any old place! 

Mrs. Reed {smiling). Any old place suits me. 

DoRETTE. Why not the dining-room? That will give 
us an opportunity to collect our property in time to dress 
for the dance. 

Mrs. Reed (at doorn'ay). Ycvy well. Until then I'll re- 
lieve you of your valuables. (Exit C. in F.) 

Miss Parker (tJwugJit fully). That woman arrived yes- 
terday. What do we know of her? And yet, without a 
particle of hesitancy, we entrust our money and jewels to 
her keeping. 

Gladys (sitting in chair vacated by Mrs. Reed). Why 
not ? She's a lady. One can easily tell that. 

DoRETTE. Oh. I'm not so sure. The present age is one 
of clever imitations. Why not perfection in this particular 
line? (Crosses to chair R. of C. and seats herself.) 

Enter Mrs. Lane C. in F. 

Mrs. Lane (looking anxiously around). Oh, I beg your 
pardon. I'm looking for my husband and — 

Miss Parker. You can't see him right now — and — 

Gladys (impulsively). Oh, I'm sorry for you — so sorry 
that it's happened ! 

Mrs. Lane (/;/ agitation). What's happened? Why are 
you sorry? (Clasps her hands.) Is my husband — (falters 
and advances to C. of porch). 

Miss Parker (laying her Jiand on Mrs. Lane' arm). 
No, he's not hurt. He's merely — detained. For — every- 
thing's found out. 

Mrs. Lane (off her guard). Found out! That's impos- 
sible — nobody knows ! 

Miss Parker. Were you foolish enough to think you 
could escape detection? 

Mrs. Lane. Certainly we could have escaped it, if it 
had not been for the vulgar curiosity of the meddlesome 
public. 



ALL OX A SUMMER'S DAY. 19 

Miss Parker. That is a most peculiar term to apply to 
the law. 

Mrs. Lane {sharply). The lazvf What has the law to 
do with it? 

Miss Parker (icily). The law usually handles cases of 
crime. 

Mrs. Lane. And you call marriage a crime — you dare 
to? 

Miss Parker. Who said anything about marriage ? 

Mrs. Lane. You did yourself — you — you — (disgust- 
edly) suffragette! 

Miss Parker. Look here ; you're trying to evade me. 
It won't work, my dear. 

Dorette. Don't lose your temper. Miss Parker. Mrs. 
Lane probably had nothing to do with the scheme — the idea 
was her husband's and — 

Mrs. Lane (interrupting). Oh, no, it wasn't; it was 
mine — and — 

Gladys. \\'ell, you weren't very clever or }(^u nez'cr 
would have gone to another hotel. 

Mrs. Lane (frigidly). Do you mind my saying this is 
our first stopping place ? 

Gladys (rising). I don't mind your saying so — but I 
don't believe you. 

Miss Parker. And I shouldn't advise you to move on to 
any other public place. 

Mrs. Lane (furiously). Is that your business or mine? 

MisS Parker. People are not so unsuspecting as you 
think. 

Mrs. Lane. I don't understand your attitude. You are 
all very insulting. 

Miss Parker. And you are exceedingly brazen. Now 
that we know all about you — 

Gladys (interrupting). We shall take pains to warn 
everybody against you — 

Miss Parker. For your case is now in the hands of the 
hotel authorities — 

Gladys (interrupting). And our money and jewels are 
safely guarded — quite out of your reach. 



20 ALL OX A SUMMER'S DAY. 

Mrs. Lane ( gasping). What do you mean? There must 
be some terrible mistake. 

Enter Tom and Lane from C. in F. Mrs. Lane rushes 
to her husband. 

Mrs. Lane. Oh, Rupert ! Rupert ! \Miat does it all 
mean? (Tom crosses to R. and stands back of Dorette's 
chair.) They say such strange things — such insinuating 
things — I don't understand. ( Miss Parker and Gladys 
i^nthdraw to L. of stage. This leairs the Lanes in the 
center.) 

Lane (soothing her). There, there, Retta. No wonder 
you're bewildered. Lm a little bit knocked-out myself. 
{Takes paper front pocket.) It seems that the kind and 
charitable guests of this hotel have decided that we are a 
pair of thieves. 

Mrs. Lane (gasping). Thieves! 

Lane. Just so. Here — read. (Points out paragraph.) 
The only pleasant thing about it is that we are ''young, at- 
tractive and exceedingly well-dressed." 

Mrs. Lane (excitedly) . So that's what they meant when 
they said that their jewels and their money were out of my 
reach. Oh! (Throzvs paper aside). Have you told them 
who we are? 

Lane. Not at all. What would my mere word do in a 
crisis of this kind? 

As Bob Doyle and Rafferty enter from L. 2 E. 

Lane. Bob Doyle, by all that's lucky ! 

(Bob drops his suitcase and hastens to the porch. Raf- 
ferty stands L. of porch steps.) 

Bob (taking Lane's and Mrs. Lane's outstretched 
hands.) Well, who would have thought of seeing the bride 
and groom! (Turns and shakes Tom's hand.) Hello. Tom. 
Have you been taking good care of the newly-weds? 
(Stands R. of C.) 

Tom (dazed). I — I — confound it, man, what do you 
mean ? 

Lane (ironicallx) . Tliis is vour cue, Bol), for a formal 



ALL OX A SUMMER'S DAY. 21 

introduction. Will you explain to the assembled multitude 
just who we are? 

Bob. Is this a joke? 

Lane. We've been here under an assumed name. 

Bob (reliez'cd). Oh, thafs it! Well, ladies and gentle- 
man, I take pleasure in establishing- the identity of the 
strangers in your midst. {With a flourish.) Mr. and Mrs. 
Rupert Irving — married a week ago — and enjoying a quiet 
and peaceful honeymoon ! 

Lane {chuckling) . Quiet and peaceful is good. 

Gladys {clasping hands). Margaretta Van Antwerp! 

Mrs. Lane {scornfully). Yes, Margaretta Van Ant- 
werp! And I've taken your money, your jewels! 

Bob {in amazement) . What on earth is the matter, Retta? 

Lane. There's been a mistake. Bob — a ridiculous mis- 
take — due to our desire to be let alone. When we first 
came here, dreading the curiosity and comments always 
bestowed upon bride and groom, we took another name ; 
and in order to disarm suspicion still further, Retta decided 
that I must be curt, indifferent and even harsh to her in 
public. {Grimly.) The plan succeeded too well. 

Miss Trimble quietly enters at C. in F. and goes to L., 
standing back of chair. 

Bob {puzzled). How do you mean? 

Lane, ^^'e have been taken for a pair of notorious 
thieves, now doing the various hotels, who, it seems, are 
{ sarcastically) "young, attractive and exceedingly well- 
dressed." In fact, we are at present on the verge of arrest. 

Bob {eagerly). The pair that stole the jewels at the 
Ocean View Hotel last week ? 

Lane {laconically). The same. You seem interested. 
Friends? 

Bob. Well, Rafferty {nodding at Rafferty) here is 
trailing them and — step up, Rafferty, and spring your news. 

Rafferty {ascending steps). The fact is, the woman 
has been traced to this hotel. We have learned that she is 
known as — {consulting memorandum) as — Mrs. Reed. 



22 ALL ON A SUMMER'S DAY. 

DoRETTE (rising). Mrs. Rccd! Oli. no — no! {Wrings 
hands.) 

Gladys (wildly). And she has our money — our jewels 
— our — 

Rafferty (sharply). What's that? 

Gladys. We gave them to her to keep for us — (hyster- 
ically) to keep for us! 

Rafferty (rushing toward C. in F.). Let me by. I must 
arrest her before she escapes. 

Miss Trimble (calmly). And is it Mrs. Reed you're 
after? (Rafferty turns.) You'll be interested to know 
that she has gone. 

All. Gone? 

Miss Trimble. A carriage came to the side door not 
ten minutes ago. She entered and was driven rapidly away. 

Rafferty (rushing down steps). To the train, tlien ! 
We'll catch her — or telegraph the next station — or (looking 
wildly about). Good heavens! Is there nothing to take me 
there ? 

Tom. My car! Wait here. I'll be back in a jiffy. (Runs 
down steps and off at R. 2 E. Rafferty paces hack and 
forth, watch in hand. In the midst of the tense silence a 
wliistle sounds.) 

Dorette (tragically). The train! It's going! (Staggers 
to bench, at R. and sinks upon it. Gladys drops in nearest 
chair and buries her face in her hands. Miss Parker leans 
against the wall for support. Miss Trimble regards every- 
body through a lorgnette, and in the midst of the confusion 
the bride and groom clasp hands and look blissfully into 
each othe/s eyes.) 

Curtain. 



The Deacon Entandled 

By HARRY OSBORNE. 

Price, 25 Cents 

Comedy in 3 acts; 6 males, 4 females. Time, 2 hours. Scene: 
1 interior. Characters: Deacon Penrose, a member in good stand- 
ing. Calvin, his nephew. Rev. Sopher, a supporter of foreign mis- 
sions Harry Baxter, a sporting writer. Rafferty, a policeman. 
A Plain Clothes Man. Mrs. Penrose. Ruth, her daughter. 
Georgie, Rev. Sopher' s daughter. Katy, a maid. 

SYNOPSIS. 

Act I. — In which the Deacon finds himself in a tight corner. 
Dr. Sopher, who can coax money out of a wooden Indian. A thou- 
sand dollars for the new pipe organ. Cal arrives. A clean-up- 
clouter instead of a ministerial prospect. "Did I forget my necktie 
and button my collar in the back?" The Deacon spends a night 
out. "We won't go home until morning." 

Act II. — The raid on the gambling joint. "Why didn't yoii 
jump when I told you." On bail. "A thousand dollars to the Doc 
or you lose your job as Deacon; a thousand to the judge or six 
months." A sporting chance. Ready for the game. A donation 
to Foreign Missions and a double barreled courtship. The elope- 
ment. The arrest. "Come on Cal, I'll see you through." 

Act III. — The big game. Tied in the Tenth. Cal goes to the 
box. A Pinch Hitter. "Over the scoreboard." On the Deacon's 
trail — the Horse pistol — pay the fine or go to jail. A hair line 
finish, "Hold on, Copper." "Here's your thousand and here's 
your girl. Look happy and have your picture taken." A new 
son-in-law. "Bother Boarding School." The Deacon smiles. 

A Trial of Hearts 

By LINDSEY BARBEE. 

Price, 25 Cents 

College comedy in 4 acts; 6 males, 18 females. Time, 2^/4 hours. 
Scenes: 3 interiors, 1 exterior. Characters: Dudley Van Antwerp, 
a wealthy college man. Philip, his best friend. Roger, Teddy, 
Jack and Jerry, fraternity men. Mrs. Van Antwerp, of great im- 
portance. Honor, Dudley's wife. Fourteen lively sorority girls. A 
chaperone and a maid. 

SYNOPSIS. 

Act I. — Gretchen and Jerry play Romeo and Juliet. Ted pleads 
the cause of Kappa Psi. Jack argues for Delta Chi. Dudley intro- 
duces Honor to his mother. Virginia learns of Dudley's marriage. 
"I want to go home — oh. I want to go home!" 

Act II. — The football enthusiasts bring news of Barbara. 
Gretchen and Jerrv study Latin and argue fraternity. Honor finds 
it all a little strange. Dudley tells Virginia his love story. "Oh, 
Dudlev, you hurt me!" "There's nothing left for me but to go away!' 

Act III.— "I wonder if people ever get too busy to 6are!'' 
Mrs. Van Antwerp opens fire and Honor stands her ground. I 
mean to stay!" "I wish I had no heart— it aches so!" "Dear 
little girl, it is good-bye." Honor hears Dudley declare his love 
for Virginia. "Oh, Dad-Dad— your little girl is coming home!" 

Act IV. — Gretchen and Jerry "grow up." The Seniors toast 
the past, the present and the future. Mrs. Van Antwerp reproaches 
herself. "Here comes the bride." The Kappa Psis and the Delta 
Chi holds reunions. "Honor, is it really you?" "If you want me, 
I am here." __^ . 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



By Way of the Secret Passage 

By LINDSEY BARBEE. 

Price 23 Cents 

Comedy-drama in 3 acts; 1 male, 11 females. The character 
of John Harvey can easily be assumed by a girl if it is not de- 
sirable to have a man in the cast. Time, 1% hours. Scene: 1 
interior. Characters: Mrs. Sherman, the hostess. Betty Drew, 
her niece. Ruth, Alice and Rita, guests. Hannah, a maid. 
Madame Drevi', of revolutionary days, Annette, Caroline and 
Elizabeth, her daughters. Wenonah, an Indian maid. John Har- 
vey, of the Patriot army. 

SYNOPSIS. 

Act I. — B'etty's engagement dance on Christmas night. The por- 
trait of Mrs. Elizabeth Drew. Betty's great-great-grandmother. 
The story of Mistress Elizabeth's romantic career. Ghosts of the 
happy pair haunt the room each Cliristmas night. Rita falls 
asleep in a chair and dreams a dream. 

Act II. — Scene I — The dream of long ago. John Harvey gains 
an interview with his lady love. The secret mission is made 
known to Mistress Elizabeth and the marked chart is put into 
her hands. Shots, pursuit and the secret passage. Scene il — 
Where is Elizabeth? The mysterious tapping. Elizabeth makes 
a dramatic entrance and brings astounding news. 

Act III. — Rita awakes. Betty's puzzling absence is discussed. 
Another mysterious tapping. "He's waiting for me — at the end 
of the secret passage, the same as in the long, long ago I" 

Abbu San of Old Japan 

By WALTER BEN HARE. 

Price 25 Cents 

Comedy-drama in 2 acts; 15 females. Time, about 2 hours. 
Scene: A simple interior. Characters: Abbu San, daughter of 
his majesty. Duchess Fuji-no. Lady Yu-giri, Mist of the Even- 
ing. O Matsuka San and O Kiku San, maids of honor. Ohano, 
wife of the bandit chief. Natsu-no, hostess of the inn "Million 
Welcomes." Okuku, sister of tlie Ox, a porter at the inn. ITrni, 
Sada and Yasa, peasant maids. Henrietta Dash, an American 
newswritei'. Aunt Paradise, a l)la(k mammy. Madam Masago, 
manager of tlie players. Ono, lier maid of all work. 

An absolute novelty in play construction, bristling with inci- 
dents and sparkling vvith comedy. The play is presented after 
the fashion of "The YeUow Jacket." the stage hands changing 
scenery in full viev>^ of the audience and the manager explaining 
the action and introducing tlie different characters from her seat 
at the side. The star part is particularly suited to the tempera- 
ment of a pretty little ingenue, the characters of Fuji-no and 
Mist of the Evening call for heavy and effective dramatic work 
and old Aunt Paradise who longs for "ole Virginny" is a comedy 
creation of especial note. Dances and song numbers from Mi- 
kado are called for by the text but these may be given or not at 
the pleasure of the manager. A picturesque and verj^ effective 
dramatic entertainment with a distinct plot that will interest and 
amuse any audience. Suitable for schools, colleges, clubs or 
churches. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 



M. F. 

Documentary Evidence, 25 min. 1 1 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min.... 4 

For Love arid Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in a Photograph Gallery, 

30 min 6 10 

Great Doughnut Corporation, 

30 min 3 5 

Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 

Happy Pair, 25 min 1 1 

I'm Not Mesilf at All, 25 min. 3 2 

Initiating a Gratiger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mjke Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Carver's Fancy Ball, 40 m. 4 3 
Mrs. Etubbins' Book Agent ^0 

min 3 2 

My Lord in Livery, 1 hr.... 4 3 

, My Neighbor's Wife, 45 min.. ? 3 

My Turn Next, 45 min 4 3 

My Wife's Relations, 1 hr. . . . 4 6 

Not a Man in the House, 40 m. 5 

Obstinate Family, 40 min 3 3 

Only Cold Tea. 20 min 3 3 

Outwitting the Colonel, 25 min. 3 2 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min....... 4 3 

Pat, the Apothecary, 35 min.. 6 2 

Persecuted Dutchman, 30 min. 6 3 

Regular Fix, 35 min. 6 4 

Rough Diamond, 40 min 4 3 

Second Childhood, 15 min.... 2 2 

Smith, the Aviator, 40 min... 2 3 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min..... 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Treasure from Egypt, 45 min. 4 1 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m. 4 

Two Bonnycastles, 45 min.... 3 3 

Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Correspondent, 45 m. 4 4 

Wanted a Hero, 20 min 1 1 

Which Will He Marry? 20 min. 2 8 

Who Is Who? 40 min . . 3 2 

Wide Enough for Two, 45 min. 5 2 

Wrofig Baby. 25 min 8 

Yankee Peddler, 1 hr 7 3 



VAUDEVILLE SKETCHES, MON- 
OLOGUES. ETHIOPIAN PLAYS. 

M. F. 

Ax'in' Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m.lO 

Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Coon Creek Courtship, 15 min. 1 1 

Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m.l4 

Counterfeit Bills, 20 min 1 1 

Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min 2 

Five Minutes from Yell Col- 
lege, 1 5 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 

Glickman, the Glazier, 25 min. 1 1 

Handy Andy (Negro), 12 min. 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 1 

Hot Air, 25 min.. 2 1 

Jumbo Jum, 30 min 4 3 

Little Red School House. 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Mr. Badger's Uppers, 40 min. 4 2 

One Sweetheart for Two, 20 m. 2 

Oshkosh Next Week, 20 min . . 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10 

min 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 

Prof. Black's Funnygraph, 15 m. 6 

Recruiting Office, 15 min 2 

Sham Doctor, 10 min 4 2 

Si and I, 15 min .'. . . 1 

Special Sale, IS min 2 

Stage Struck Darky, 10 min.. 2 1 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubled by Ghosts, 10 min... 4 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella ISIender, 15 min 2 

Uncle Bill at the Vaudeville. 

IS min 1 

Uncle Teflf, 25 min 5 2 

Who Gits de Reward? 30 min. 5 1 



A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T.S.DENISON & COMPANY, Publishers,154 W.Randolph St., Chicago 



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PUBUSHERS CHICAGO 



tN this Series 
-L are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 



J er design. 



DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight Original selections. 
When the Lessons are Over, 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Brand new, -original, successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Cornic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Fridaif Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 
Monologues Grave and Gay. 

Dramatic and humorous. 
The Patriotic Speaker. 

Master thoughts of master m>nds. 



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0 018 604 638 9 ^ 



Ponies ov the Peepul. 

Wit, humor, satire, funny poems. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 14 Nos., per No. 25c. 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 
.New parlor diversions, socials. 
Patriotic Cejebrations. 

Great variety of material. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fmgers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Black American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland, via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Laree Illustrated Catalogue Fre* 



T.S. DENISON & COMPANY, Piitriishers,154W. Randolph St., Chicagi 



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